Spectropop V#0415

From:The Spectropop Group

Date: 05/07/00

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Volume #0415 May 7, 2000
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Music Everywhere You Go
Subject: The Fleetwoods
Received: 05/07/00 12:21 pm
From: John Hesterman
To: Spectropop!
Greetings to all :)
Does anyone on the list have information on a recording by
The Fleetwoods called "Just As I Need You?" It was the flip
side of "Rainbow", I believe on the Dolton label. I would
appreciate any details, including info on a CD release if
there has been one. I've seen a lot of Fleetwood CD's, but
so far none of them include these two selections. Thank you
all in advance! This is a GREAT forum :)
John Hesterman
A Grape :)
Also an Offbeat :)
With a TRACE of music in there somewhere!
You're invited to visit The Grapes Of Wrath Web Site at:
http://www.geocities.com/sunsetstrip/garage/1272
You're invited to visit The Offbeats Web Site at:
http://www.geocities.com/sunsetstrip/vine/6129/index.html
You're invited to visit the Gear Fab Records Web Site at:
http://www.swiftsite.com/gearfab
You're invited to visit the Twist & Shake Fanzine Web Site at:
http://www.evans-family.com/twist.htm
NOW ON THE WEB! www.5Grapes.com THE DOMAIN! Please Visit!
Enjoy :)
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Subject: Darlene Love
Received: 05/03/00 11:37 am
From: john rausch
To: Spectropop!
Here is an intesting link to the Rosie O Donnell site with 2
clips of Darlene performing.
http://rosieo.warnerbros.com/cmp/dld/love.htm
John Rausch
Phil Spector`s Wall Of Sound @
http://members.tripod.com/~rauschj/
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Subject: RE: Mirasound
Received: 05/03/00 11:37 am
From: Phil Chapman
To: Spectropop!
Michael:
According to various credits on the Shangri-Las recordings
UltraSonic was one of the studios they used, along with
Mirasound. The Raindrops album is entirely credited to
Mirasound and engineer Brooks Arthur, who, if it was he,
is a hero in my book for the outrageous 4-bar compression
drumbreak in "The Kind Of Boy....". I understand "What A
Guy" was a demo, but I assumed Jeff & Ellie would have
stuck with Mirasound/Brooks for their future Red Bird
stuff. Most of the 'produced' Shangri-Las recordings have
a kind of homogeneous penetrating top end, with the
notable exception of "Out In The Streets" which is
screech-free, with clear drums & echo and a wonderful
subsonic bass end - I'd like to know more about this
recording. I agree that the drums on The Locomotion sound
great, but they don't have anything to compete with, other
than a couple of saxes & vocals - the bass & acoustic are
quite low in the mix. I'm referring to Phil's style of
production where peak frequencies can build up with
multiple overdubs, and that is significant on "I Wonder".
Incidentally, Neil Diamond's Bang recordings have this
quality, does anybody know where he recorded those early
Jeff & Ellie tracks?
Phil
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Subject: Re: yikes, I can't remember how to spell Edie's name
Received: 05/03/00 11:37 am
From: WASE RADIO
To: Spectropop!
To Jack:
The name is Eydie Gorme'. This kind of reminds me. My
parents had two albums by her. One was "Showstoppers" her
album of famous Broadway tunes. One of the earliest albums
to be recorded in stereo. Could now be out on CD. I would
hope so. I thought it was great.
The other album that my folks had was "Gorme' Country
Style"-simply her doing country songs in her pop style. I
read that many of her old ABC-Paramount albums are out on
CD-but none of her Columbia stuff is. A shame.
Michael G. Marvin
WASE radio
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Subject: Various
Received: 05/03/00 11:37 am
From: Carol Kaye
To: Spectropop!
>>>>This gets me thinking of Chris Montez. You played bass
on some of his tracks, right Carol? I just bought a Montez
"Best of" and nearly every song got the same beat, rhythms
and arrangement. "Call Me" must've been some kind of blue
print for him...do you know who arranged his music? As far
as I know, Herb Alpert only was the producer. Anyway, most
of his songs sound like they were indeed recorded in the
same 3-hour session!<<<
Tobias, yes, I'm playing on all of Chris Montez's things
of the 60s, guitar on his 1st hit of "Let's Dance", and
then bass after that "The More I See You", "Call Me" etc..
His music was sort of dry, not much to it, just a nice
groove and Chris has a lot of talent, good to work for etc.
It took us 3 hours to cut everyone's things 4-5 tunes,
all worked that way except for Phil Spector and Brian.
I personally like Chris Montez, he's been over to my place
here to "jam jazz things", he plays a pretty fair am't of
guitar. A really nice person and still good-looking too
after all these years. About the way he did those
standards sometimes tho', having been a stone-cold bebop
jazzer, it was kind of hard to play those jazz tunes in
the pop vein for me at times....but hey, it's all music -
you try for a hit no matter what.
As for those books out there, my point in speaking about
the "library" was that it's pretty evident, they're NOT
interested in those books -- and according to others I've
spoken with across the country, they say the same things --
not much action about those books. Everyone says "they
sell with that sleaze", I beg to differ - maybe a little
at first years back but not so much now -- I think the
public is just as sick of them as I am (almost)....they
don't really sell that well at all (except to "libraries").
Our "Thumbs Up" is in all the Tower and Wherehouse stores,
under the label "MR-C", our own partnership label (our
initials Mitch, Ray, Carol). It's being played on quite a
few jazz stations (and a few pop ones as well) across the
USA.
Best, Carol Kaye http://www.carolkaye.com/
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Subject: Chris Montez
Received: 05/03/00 11:37 am
From: Jamie LePage
To: Spectropop!
Tobias wrote:
>I just bought a Montez
>"Best of" and nearly every song got the same beat, rhythms
>and arrangement. "Call Me" must've been some kind of blue
>print for him...do you know who arranged his music? As far
>as I know, Herb Alpert only was the producer. Anyway, most
>of his songs sound like they were indeed recorded in the
>same 3-hour session!
Welcome, little brother, to the A&M Sound. Granted, not all
A&M releases fall into the same pattern, but enough do
that a definable sound can be attributed to the name A&M.
What are the common denominators? For one, great
songwriting and song selection (the R in A&R). Bacharach/
David come up quite often, Lennon/McCartney and Brian
Wilson covers show up regularly, and of course there were
the Almo staff writers like Roger Nichols to furnish
material to the A&M artists.
Sandpipers, Bacharach, Claudine Longet, Small Circle of
Friends and Chris Montez typify the sound - a decidedly
"young adult"-oriented approach. The records seem to be
targeted not at the slightly younger rock and roll crowd,
but rather the 25 to 35 year old audience that embraced
60s pop/rock to an extent while clinging to the more
traditional forms of contemporary popular music like big
band and bossanova.
With excellent A&R, superb arrangers and great
musicianship, there was little need for experimentation to
make high quality recordings. Herb Alpert and Co. were not
trying to outdo Sgt. Pepper's, or push the borders as
Brian Wilson had, or even for that matter introduce a "new"
type of artists a la VDP/Randy Newman as W/B were doing
across the hill on Barham. No, A&M were content to release
wonderfully crafted if unchallenging pop music to the
masses, culminating with the enormous success of the
Carpenters, perhaps the last of the A&M artists molded in
the classic A&M style.
It is true that many of Chris Montez' A&M sides have a
similar style. The production often used the Frank Guido
"live-in-the-studio with all my friends" approach, but the
groove is easy, the singing so relaxing, and once again,
the songwriting is fantastic.
All I can suggest to you, Toby, about the A&M sound is:
Don't expect to be challenged, or overwhelmed. It's easy,
light, and wonderfully appealing.
One final note, Call Me was definitely NOT the Chris
Montez blueprint. Years before Call Me, Montez was a
Latino rocker with two big hits - Let's Dance and Some
Kinda Fun, both rockin' little rekkids that share nothing
with the later Montez sides cut for A&M. As far as I know
there are no Montez releases with these hits together with
his A&M sides.
Jamie
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Subject: Spectropop post
Received: 05/03/00 11:37 am
From: Bob Hanes
To: Tobias Bernsand
CC: Spectropop!
Tobias;
I won't even try and explain why you're naive about the
biz these days, it just ain't that simple. Talk to David
Leaf or Brad Elliott or anyone that wrote an honest book
and went the indie route. Whew! However, the Dennis Wilson
book by John Stebbins is to Dennis as David Leaf's book was
to Brian. Very accurate and very sympathetic and very well
written and very very worth buying. On the other hand they
(the aforementioned authors)/we love(d) these two
characters very much, it might be fair to accuse the book
of being bias in Dennis" behalf.. Not wrong or inaccurate,
just slanted, a bit. Interestingly enough, Chris Montez is/
was from Hawthorne and went to Hawthorne High School.
That's right, he too was a Cougar. Another unimportant
factoid for the Swede over there in the third row with so
damn many names that I've finally lost count. Go crimson
and gold!?
The Right Reverend Bob, dumb angel chapel, The Church of the Harmonic
Overdub
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Subject: re: echoplex machines and maestrovoxes..
Received: 05/02/00 12:55 am
From: Rough Trade Shop
To: Spectropop!
I have an echoplex machine which i find just perfect for
putting my guitar through....its main drawback is that its
rather heavy...( a big black heavy box - about the size of
an old dansette! but kinda taller...). i spent a whole day
in music shops once trying to find a smaller (digital
even...) pedal which would be a more portable alternative.
i had no luck finding anything which sounded anywhere near
as good! any ideas anyone?
also this week i brought a 'maestrovox' which is a really
old monophonic (is that the right word? only one note at a
time?) keyboard with its own built in amplifier...kinda
primitive but cute....
does anyone know any websites where i could find out more
about them?
any info appreciated!
tah!
x delia x
> The other
>method is using tape delay. A continuous loop tape is run
>on a machine with the record heads and playback heads
>both simultaneously in use, and the distance between the
>record head and playback would determine the length of
>the delay. Usually these devices would have a control
>that would allow you to adjust the distance of the heads
>(i.e.: the length of the delay). This is the theory
>behind the Echoplex machine (which used tape cartridges
>instead of open reel tape), popular with guitarists in
>the pre-digital days.
>
> Glenn Sadin
> glenn_mariko@earthlink.net
>
www.roughtrade.com
if you'd like to be sent regular new releases emails let me know
ph-0171 792 3490
fax 0171 221 1146
at....130 talbot road , london , wiiija, u.k.
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